Abstract

The purpose of this dissertation is to put forward ideas and improved
techniques of contemporary oboe reed making. The reed is an integral
part of oboe playing and should not be regarded as a secondary consideration;
Quality and stability of the tone, intonation, resistance and
many more attributes largely depend on the constriction and finish of
the reed. Ledet states in his book O):loe reec'l. styles: 'From the stand
point of both the teacher and the student, reed making is one of the
most important aspects in the pedagogy of the oboe' .1
One of the most frustrating aspects of oboe playing is the need
for fresh reeds. It is imperative, therefore, that the student develop
the necessary understanding and technical skills of reed making early
in the learning process, thus allowing other areas of development to
proceed unobstructed. For the young oboist insufficient material is
available to explain and demonstrate the art of reed making in a
straightforward and easily understood fashion. It is for this reason
that I have carri9d out investigations and comparisons in the following
areas which represent fundamental principles in the development of the
pedagogy of the Oboe.
1) CANE
The basic structure and composition of Arundo
The purpose of this dissertation is to put forward ideas and improved
techniques of contemporary oboe reed making. The reed is an integral
part of oboe playing and should not be regarded as a secondary consideration;
Quality and stability of the tone, intonation, resistance and
many more attributes largely depend on the constriction and finish of
the reed. Ledet states in his book Oboe reed. styles: 'From the stand
point of both the teacher and the student, reed making is one of the
most important aspects in the pedagogy of the oboe' .1
One of the most frustrating aspects of oboe playing is the need
for fresh reeds. It is imperative, therefore, that the student develop
the necessary understanding and technical skills of reed making early
in the learning process, thus allowing other areas of development to
proceed unobstructed. For the young oboist insufficient material is
available to explain and demonstrate the art of reed making in a
straightforward and easily understood fashion. It is for this reason
that I have carri9d out investigations and comparisons in the following
areas which represent fundamental principles in the development of the
pedagogy of the Oboe.